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The Museum Age
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Baroque and Rococo
Baroque and Rococo art and architecture have become popular once more, after a century and a half of neglect, misunderstanding and scorn. This radical shift in taste has led to a rapid growth of detailed knowledge about the artists who created these exhilarating styles. The famous masters have been reassessed and whole areas of achievement - Italian Baroque painting, German Rococo architecture - have been brought to a new, enthusiastic public. Germain Brazin's engrossing survey of this rich subject ranges over all Europe and traces the orgins and effects of Baroque and Rococo - from the Counter-Reformation to Neoclassicism, Exoticism, and even Art Nouveau.
Baroque and Rococo
The seventeenth and eighteenth centuries were years when the arts of Western civilization reached their most varied and richest expression, when each of the European peoples invented the artistic forms best fitted to its own genius. In "Baroque and Rococo Art", Germain Bazin traces the multiple achievements of those exuberant and paradoxical times -- the wealth of masterpieces in sculpture, painting, architecture, and decoration that reflected the expansive diversity of Baroque and Rococo style. Baroque and Rococo styles and forms extended to and embellished virtually every aspect of European life, and M. Bazin has not overlooked any detail in this remarkable totality: tapestries, furniture, porcelain, pottery, and jewelry -- as well as the masterpieces of the fine arts -- are discussed in the text and shown in hundreds of faithful and luminous reproductions. His meticulously accurate, incisive survey reveals the almost infinite richness of a great period of European art history. -- From publisher's description.
Impressionism
Defining an artistic era or movement is often a difficult task, as one tries to group individualistic expressions and artwork under one broad brush. Such is the case with impressionism, which culls together the art of a multitude of painters in the mid-19th century, including Monet, Cézanne, Renoir, Degas, and van Gogh. Basically, impressionism involved the shedding of traditional painting methods. The subjects of art were taken from everyday life, as opposed to the pages of mythology and history. In addition, each artist painted to express feelings of the moment instead of hewing to time-honoured standards. This description of impressionism, obviously, is quite broad and can apply to a wid...
O Museu Nacional da Ciência e da Técnica: no contexto da evolução da Museologia das Ciências: da ideia do Museu à sua oficialização (1971-1976)
Este trabalho resulta de uma investigação em Museologia e Património Cultural sobre a concetualização do Museu Nacional da Ciência e da Técnica (1971-1976). Pretende-se dar a conhecer o contexto em que emerge o Museu, as suas influências, a sua estrutura, a sua projeção e dificuldade de reconhecimento no seio da comunidade museológica. Este Museu foi pensado e construído por Mário Silva, eminente físico conimbricense, que se doutorou com a Nobel Madame Marie Curie, no início do século XX. O único Museu nacional dedicado à ciência e à tecnologia, classificado na chamada “primeira geração”, foi impulsionado sob a égide do então Ministro da Educação Nacional, o Pro...
Our Beautiful, Dry, and Distant Texts
Elkins argues that writing is what art historians produce, and, whether such writing is a transparent vehicle for the transmission of facts or an embattled forum for the rehearsal of institutional relations and constructions of history, it is an expressive medium, with the capacity for emotion and reflection. Therefore, it needs to be taken seriously for its own sake: it is the testament of art history and of individual historians, and it is only weakened and slighted by versions of history that imagine it either as uncontrolled dissemination or as objective discovery and reporting.
Museum Masters
Alexander brings to life the stories of twelve ambitious leaders from the United States and Europe who helped shape the future of the museum world.
